25-26
YEAR
IN
REVIEW
Introduction
DEAN ORMSTON, APRA AMCOS CEO
CEO MESSAGE
It has been a year of looking forward and boldly meeting the challenges ahead, while also taking time to honour an extraordinary milestone: APRA’s 100th anniversary. For a century, APRA has championed the social, cultural and economic contribution of songwriting and composition to Australia and Aotearoa New Zealand.
What began as a small collective of six Australian publishers in 1926, determined to protect creators in the age of radio, and putting music licences in place with hotels, ‘sound films’ and television, is now a 135,000-plus strong collective of songwriters, composers and music publishers entrusting APRA and AMCOS with their intellectual property.
One hundred years of collective rights management: collective strength, collective movement, collective change. We are here to serve our members and affiliates, for the collective good.
In the past year, we surveyed our broader membership. The responses were clear: members value APRA AMCOS as a trusted, professional and supportive business partner, particularly for our role in collecting royalties, protecting rights and representing creators.
Members give high marks to our staff professionalism and new and evolving digital services. There is more work to be done so that we further tailor services and opportunities to members’ different needs, with the goal of supporting sustainable career pathways.
Our number one priority is to get more money to members and affiliates faster, more accurately and with greater efficiency. A key measure of that drive is our FY26 Net Distributable Revenue (NDR) result which grew 10.6% year-on-year and outpaced Gross Revenue growth.
Revenue highlights included another record year for International income, reflecting the continued global performance of Australian and New Zealand-made music; continued growth in our domestic and multi-territory Digital business; and strong growth across our OneMusic business with revenue from restaurants alone growing 75% year-on-year (YoY).
It is no exaggeration to say that Generative AI presents one of the greatest threats — and one of the most urgent policy tests — for the local and global music ecosystem. As AI technology advances, so too does the need to defend the simple principle at the heart of copyright: creators must retain the right to control the use of their work and be paid when that work is used. Despite the protests of multi-national platforms, the position is clear and simple: permission and payment.
This year, APRA AMCOS has played a key role in AI-related advocacy across Australia and New Zealand, and through CISAC globally, working alongside creative industry colleagues.
Across the political divide, portfolios and levels of government, our message has been consistent: the copyright framework is fit for purpose. We’re here to do business and technology companies must come to the negotiating table.
That founding principle has carried APRA through 100 years of technological change. It is just as vital in the AI era as it was in the age of radio.
Alongside the submissions, policy work and trips to Canberra and Wellington, there has also been much to celebrate.
From APRA’s 100th birthday celebrations with current and former staff, to welcoming the CISAC Board to Sydney, a golden night at the APRA Music Awards, and the launch of the Paris Commitment, it has been a momentous year, and with a few further celebrations to come!
The Year in Review for the period 1 July 2025 to 30 June 2026 gives us a moment to pause on all that has been achieved, and all that lies ahead. As we face change, our commitment remains constant: we will champion music creators, protect the value of their work, and advocate for a fair and sustainable future.
From myself, the APRA and AMCOS Boards, and our teams across Australia, New Zealand and internationally: we’ve got your back.
Regards,
Dean Ormston
APRA AMCOS CEO
The APRA and AMCOS Boards and APRA AMCOS Leadership Team. Photo: Tori Hyland
Revenue
Group and Net Distributable Revenue hit all-time highs
More money out the door: NDR growth continues to accelerate
and outpace Group revenue
APRA AMCOS Group revenue $857.4m, up 8.8% from $787.9m.
$557.2m - APRA (previous year $521.3m) up 6.9%.
$300.2m - AMCOS (previous year $266.6m) up 12.6%.
Total Net Distributable Revenue (NDR): $755.7m paid to members and rightsholders. NDR grew 10.6% on last year’s $683.4m.
FY26 saw healthy top-line growth but also year-on-year improved conversion of revenue into member and rightsholder value, reflecting strategic management of operating costs.
Since FY24, NDR has grown by $121.6 million, or 19.2%, compared with 15.9% growth in Group revenue.
NDR growth exceeded Group revenue growth in FY25 and FY26, lifting NDR to 88.1% of Group revenue.
APRA AMCOS
group revenue
$857.4m
8.8% ↑
APRA AMCOS
net distributable revenue
$755.7m
10.6% ↑
APRA Revenue
$557.2m 6.9% ↑AMCOS Revenue
$300.2m 12.6% ↑More revenue converted into member value
Net Distributable Revenue (NDR) growth exceeded Group revenue growth in FY25 and FY26, lifting NDR to 88.1% of Group revenue.
NDR growth outpaced revenue growth by 1.8 percentage points in FY26.
Operating expenses decrease
Across APRA, AMCOS and the Group operating expenses are lower.
APRA AMCOS Group expense to revenue ratio: 11.86%, reduced from 13.26%
APRA expense to revenue ratio: 13.82%, reduced from 15.06%
AMCOS effective commission: 6.54%, reduced from 7.77%.
Unique songs and
compositions paid
2,024,790
10.0% ↑
Members who earned royalties in Australia
63,880 6.3% ↑
Members who earned royalties
in Aotearoa New Zealand
25,403
3.5% ↑
Members paid International earnings
45,532 18.6% ↑APRA AMCOS Group Revenue: FY25-26
- Biggest category increase comes from Digital, up 12.5%.
- Subscription Video On Demand (SVOD) growth continues at a healthy rate, up 25.7% YoY, accounting for $113.8m. Small screen content is still king.
OneMusic Public Performance
- Public Performance revenue’s 10.9% uplift YoY is powered by strong growth in Concerts and Events, Restaurants and Fitness.
- Concerts and Events brought in $45.5m, an increase of 15.8% on FY25’s $39.3m.
- Popular tours included Ed Sheeran, Metallica, Oasis, AC/DC (Sony Music Publishing), RÜFÜS DU SOL (Kobalt Music Publishing), Lorde (Universal/ MCA Music Publishing) and Split Enz (members published by Kobalt Music Services/ Universal/ MCA Music Publishing/ Concord Music Publishing). Fans flocked to Laneway Festival, Electric Avenue (NZ), Golden Plains and CMC Rocks.
- Audiences continue to spend their entertainment dollars on large-scale, high-priced events, leading to softer sales and greater price sensitivity for mid-tier tours and smaller festivals.
- Revenue from restaurants has increased 75% YoY, with receipts of $10.1m and fitness is up 11.4% YoY, bringing in $15.6m.
Live highlights
New Zealand
Once In a Lifetime
The inaugural live music event held at the new One New Zealand Stadium at Te Kaha, the long-awaited venue was built following the 2011 Christchurch earthquake. Headlined by Six60 (Kobalt Music Publishing) and Synthony with support from Kaylee Bell, Castaway and Cassie Henderson (BMG).
Kaylee Bell - Once In a Lifetime Photo: Kaylee Bell Facebook
AUSTRALIA
WOMADelaide
The four-day festival brought in more than 90,000 attendees, thanks to line-up highlights Yothu Yindi (Mushroom Music Publishing), Baker Boy, Grace Jones and more.
Baker Boy performing at WOMADelaide 2026. Photo: Jack Fenby
International
- APRA’s International revenue crossed the $100m threshold for the first time, reaching $103.2m in FY26.
- Group International revenue has grown from $47.3M in FY19 to $107.3M in FY26, showing a total growth of 126.8% over the period.
- Across that period, which included a dip during COVID, international earnings for members experienced a compound annual growth rate of 12.4%.
Tours
Sydney metalcore heroes Polaris joined Electric Callboy on a 19 date North American tour.
Polaris. Photo Shaun Williams/@polariusaus
Māori heavy rockers Alien Weaponry supported Avatar on their 28-date European tour and had thousands of fans singing along in Māori.
Alien Weaponry. Photo: Draven Secrest/@alienweaponry
Ninajirachi (Sony Music Publishing) took to some of the world’s biggest stages with performances at festivals including Coachella (US), Primavera Sound (Spain) and Meltdown Festival (UK).
Ninajirachi performing at Coachella 2026. Photo: @angel.fuel/@ninajirachi
Lorde’s (Universal/ MCA Music Publishing) year-long Ultrasound world tour, in support of her album Virgin, was a triumph and included multiple dates in New Zealand and Australia.
Lorde at O2 London. Credit: @lorde
Hits
London-based multi-instrumentalist Ashton Sellars is a go-to collaborator for hip-hop’s biggest names. He executive produced Kojey Radical’s Don’t Look Down LP and is a co-writer on Drake’s “Make Them Remember” and Chance the Rapper & BJ the Chicago Kid’s “The Negro Problem”.
Kevin Parker and Sarah Aarons (both published by Sony Music Publishing) co-wrote "Dracula" from Tame Impala's 2025 album Deadbeat. It became Tame Impala's first song on the US Billboard Hot 100, and the viral JENNIE remix went on to become the project's first US top 10 hit.
Screen success
What can’t Bluey do? The Aussie blockbuster, with music by Joff Bush (Universal Music Publishing) topped Nielsen’s US most streamed programs in 2025 with 45.2 billion minutes, and halfway into 2026 was the #2 show (behind Stranger Things).
Aussie horror delivered strong results in FY26 with Bring Her Back and Together, both composed by Cornel Wilczek, and Leviticus, with music by Jed Kurzel (Sony Music Publishing).
Year in Review 1937-38
What did the financials look like in the 1930s?
Where did royalties come from in APRA's early days? Radio, ‘sound films’ and miscellaneous, which included APRA’s very first music licence agreement issued in November 1926 for a hall on King Island in Tasmania — a licence that remains active 100 years later with the King Island Council.
Service
In service to sustainable careers
Championing 135,344 members
OneMusic Public Performance
Over the past year, we have increased the number of Audoo audio meters installed in licensed premises by more than 35% across regional, metro and suburban areas in Australia and New Zealand. Combined with the AlphaTheta Kuvo nightclub reporting, 1,211,533 hours of music was analysed that enabled public performance royalty payments to 17,696 local writers from their music being played in nightclubs, bars, hospitality, health and beauty, dance schools, fitness and other general retail businesses.
Hours of music identified
1,211,533Local writers paid
17,696Music Recognition Devices across Australia and New Zealand
Member demographics
APRA members
135,344 5.1% ↑AMCOS members
38,389 8.9% ↑Aboriginal and Torres Strait Islander members
2,849 11.5% ↑
Māori
members
3,499
5.9% ↑
Blazing a trail for women songwriters
Dorothy Dodd (published by Southern Music Publishing) was an Australian songwriter, lyricist and APRA’s first woman elected Chair. Born in 1926, her most notable achievement was writing the English lyrics for the hit song “Granada”. The song, performed by luminaries including Bing Crosby and Frank Sinatra, is still earning royalties to this day. She passed away in 2005.
Image L-R: Sir Bernard Heinze, Mr and Mrs John Gorton, Dorothy Dodd. Credit: APRA AMCOS
APRA songwriter and composer members by gender
Female 23.3%
Male 75.5%
Not stated 0.8%
* Note: rounding discrepancy
APRA new songwriter members by gender
Female 27.5%
Male 69.8%
Not Stated 0.1%
Non-binary 1.7%
Self described 0.4%
Trans Female 0.4%
Trans Male 0.2%
More women making music: Female joining outpaced total joining by 0.9 percentage points
Photo: Markus Ravik
Performance Reports
Australia and New Zealand
Are you submitting Performance Reports after the gig? Self-reporting is easy in the portal and app and it gets you and your co-writers paid quarterly.
178,571 Submissions 11.5% ↑
8,002 Members submitted 8.1% ↑
19,548 Members paid 3.1% ↑
14,7549 Unpublished members paid 12.6 ↑
Overseas Performance Reports
With the first full year of integration in the Portal and app, overseas performance submissions have increased an incredible 125.3% YoY, growing to 7,427 from 3,296.
Jazz Improv
Jazz Improv is the newest type of performance that can be claimed, making it possible for these multi-faceted performances to be submitted via the portal and app.
Photo: Jack Moran
Online statements and electronic transfer of payments were first introduced in FY05. In FY26, an average 11,000+ distinct active members were logging in every month to check their royalties.
Staff in APRA Sydney office including Brett Cottle, Andy Stern and Linda Courtney, 1989. Credit: APRA AMCOS
Member Engagement Survey
Through a two-phase Member Satisfaction survey, we were able to better understand the varied needs, opportunities and sentiments of writer, composer and publisher members.
Thank you to the many thousands who participated in the online survey or in a more in-depth focus group or interview.
Here’s what you had to say.
Online survey: 3,342 members (AU, NZ, International)
Focus groups and in-depth interviews: 32 members
You value APRA AMCOS as a trusted partner
Strengths
- Customer service
- Royalty collection and distribution
- Digital experience
Satisfaction
Staff professionalism
85%Easy to work with
80%Customer service
78%Digital experience
75%What’s important:
Royalty management is the highest priority.
You value the transparency and reliability of payments, while also seeking clearer guidance on how to identify, manage and maximise royalty streams.
We hear what your biggest challenges are: Financial instability, limited visibility/career-building and the threat of AI.
"I just think we're very fortunate, to have that body that's always been good in collecting royalties from all over the shop and dispersing them.”
“It makes me feel validation… feel important, that my opinions or questions are important or that they’re valued and respected.”
What can we become more of?
A career sustainability partner, helping members understand royalties, navigate industry complexity, access relevant opportunities and take practical next steps.
We asked respondents about Creative Programs including SongHubs, Connect Sessions and Insights Sessions. These are deemed meaningful primarily for:
- Practical knowledge & navigation
- Networking & industry connection
- Creative development & collaboration
- Career access & progression
- Community, belonging and recognition
Regional Sessions Kiama 2026. Photo: Samantha Quintal
How will we use these insights?
- Make royalty information clearer and easier to act on.
- Improve visibility of opportunities and career-building pathways.
- Continue to enhance our digital tools and resources.
- Ensure members feel heard, valued and supported at every stage of their creative careers.
Wise Creative's Cathy Nelson-Williams at APRA AMCOS Connect Session. Photo: Tori Hyland
Creative Programs
Ways to create and connect
Loren Ryan at The Regional Sessions 2026 Port Macquarie. Photo: Jake Davey Studios
Our Creative Programs provide opportunities and skills development for songwriters and composers, starting when they are at secondary school and continuing through career stages — connecting at a Regional Sessions, applying for mentorships, sometimes reuniting at SongHubs and maybe even being honoured one day with a Billions Award.
In FY26, the APRA AMCOS Creative Programs Fund delivered more than 340 events, seminars and presentations, engaged over 10,000 attendees, distributed 110 grants, awards and prizes, and supported music creators across Australia, Aotearoa New Zealand and international markets.
Events + Seminars
340Attendees
10,000+Grants, awards and prizes
110SongMakers
SongMakers brought 87 songwriting workshops and programs to students around Australia in FY26, with increased support making an impact already with a two-year $1.56 million investment from Sound NSW and a further $865,000 was secured from Creative Victoria.
SongMakers expanded its national reach through school, holiday and flexible learning programs, from Gympie (QLD) to the Barossa Valley (SA), Canberra (ACT) to Toowoomba (QLD), and Hobart (TAS) to Perth (WA) and both SongMakers Academy and SongMakers LIVE extend the SongMakers offering.
SongMakers Live at the Espy. Photo: RC Stills
Total programs
87Songs written and recorded
~ 350Participants
1,300+Mentors engaged
37Making Connections
Through our suite of Creative Programs, we strive to connect and help all members better understand how to make the most of their music.
Connect Sessions
519 members at in-person weeknight events around the country
Insights
8 online sessions
779 attendees
Most popular: Insights with GYRO on releasing music and our Royalties 101.
APRA AMCOS 101
4 online webinars
273 attendees
APRA Connect Sessions Sydney. Photo: Tori Hyland
Regional Sessions
Regional Sessions NSW events were held in Bega, Broken Hill, Kiama Port Macquarie and Lennox Head with 211 attendees. Mentors included Joel Ma, Agum, Tasman Keith (Sony Music Publishing), Karina Utomo, and more.
The Regional Sessions 2026 Bega. Photo: David Rogers
Programs and funding opportunities
23% Mentorship
Congrats to the 16 women and gender diverse music creators in the FY26 23% Mentorship program.
Recipients included Georgia Delves, Malaika Mfalme, EMEREE, Kaiyah Mercedes and more.
Musik Blok
Musik Blok, is a new writing program created by and for Papua New Guineans, and facilitated by APRA AMCOS Ambassador and songwriter Ngaiire (Wise Music).
L-R: Lamoa of Tora, Hiatus Kaiyote’s Nai Palm (Universal Music Publishing), Kazibuda, MXV. Credit: IG @musik_blok_png
Art Music Fund
In 2026, 17 Art Music Fund grants were awarded, with an extra six grants awarded, which were made possible through an additional $45,000 investment from Music Australia.
RESONATE
RESONATE continues to go from strength to strength, growing in genre and skills development offerings.
Six intensives with 30 music creators and industry mentors, including 26 Aboriginal and Torres Strait Islander participants, produced 26 new musical works.
RESONATE (flagship), RESONATE Screen Music, RESONATE Production Music, RESONATE Country, RESONATE Producers 2025 and RESONATE Producers 2026.
RESONATE Producers 2026. Photo: Cassidy Cloupet
“Headache” by Kaybee & Kayps was written at RESONATE June 2025 and released in May 2026
EQUALIZE
195 participants attended EQUALIZE workshops for women and gender diverse music creators for the fourth year with one-day events in Canberra, Sydney, Hobart, Adelaide, Brisbane, Melbourne, Darwin and Perth.
EQUALIZE Sydney with Bec Sandridge. Photo: Jess Gleeson
NATSIMO
National Aboriginal and Torres Strait Islander Music Office
Lifecycle Grants, awarded a total of $550,000 to 35 Aboriginal and Torres Strait Islander artists. Each funding stream is tailored to key stages of an artist's professional development. This project was assisted by the Australian Government through Music Australia.
The NATSIMO Industry Showcase and the Streets of Tamworth Community Event celebrated the strength, diversity and cultural power of Aboriginal and Torres Strait Islander Country Music. Five Aboriginal and Torres Strait Islander songwriters performed at the industry showcase: Scott Rathman Jnr, Kyla-Belle Roberts, Sunny Luwe, and Nathan May, with a special guest performance from Jayden Kitchener-Waters.
The Streets of Tamworth Community Event was a vibrant and inclusive community celebration which featured renowned locally based songwriter Aimee Hannan.
Another highlight of the Tamworth Country Music Festival was stepping onto the red carpet at the Golden Guitar Awards!
L-R: Sue Ray, Sunny Luwe, Rochelle Roberts and Kyla Belle Roberts at the Golden Guitar Awards Tamworth
Aimee Hannan performing at the NATSIMO Community Concert. Photo: Gling Hunt
Nathan May performing at NATSIMO Showcase at the Listening Room Tamworth. Photo: Gling Hunt
Thank you Live and Local
The Live Music Office supported local councils and grassroots music communities through advocacy and capacity-building initiatives, the flagship being Live and Local. After an incredible 13 years in operation and partnering with more than 40 councils and supporting more than 1,000 live music events nationwide, the program demonstrated to governments at the most local level the cultural, social and economic value of live music in their communities.
Regulatory barriers have been substantially dismantled and a national architecture of government bodies, industry organisations and funding programs now supports Australian live music in ways that simply did not exist before including Music Australia, night-time economy commissioners and dedicated live music funding streams, industry bodies including the Australian Live Music Business Council, the Nighttime Industries Association, Live Music Venues Alliance, and the Australian Festival Association.
We say thank you for your service LMO, Live and Local and stakeholders.
Sounds Australia
Sounds Australia supported 110 acts, delivered 12 trade missions and coordinated more than 1,300 one-on-one networking meetings, strengthening international pathways and export opportunities for Australian music creators and industry professionals.
Mallrat (Kobalt Music Publishing) at the Aussie BBQ New York City. Photo: Cristina Mariani
Jamaica Moana at The Great Escape Brighton. Photo: Ruby Boland
Adrian Dzvuke at Music Matters Singapore 2025. Photo: Hasyir Ibrahim
Sounds Australia team, L-R: Glenn Dickie, Dom Alessio, Larry Heath, Esti Zilber, Tess Wait. Photo: Cristina Mariani
SongHubs
SongHubs Africa The program joined forces with counterparts the African Music Academy (AMA), Composers Authors and Publishers Association (CAPASSO) and South African Music Rights Organisation (SAMRO) in Johannesburg. David Rodriguez (GODTET) (Wise Music), Ngaiire (Wise Music), and Māori singer-songwriter, TAWAZ, took part.
David Rodriguez in a session. Credit: Supplied
SongHubs Academy Four programs across Sydney, Perth and Townsville plus a brand-new Academy Advanced program at Byron Bay’s RockingHorse Studios provided emerging songwriters with the business and technical skills to help them compete in domestic and global markets.
L-R: Agnus Beats, Ben Malone, Athanasia, Ethan French, Nay Pattuwage, Ethan Reginato, Tanisha. Credit: Elise Derwin
Gudinski SongHubs A new annual SongHubs was launched as part of APRA’s 100 years in honour of the late Michael Gudinski, curated by The Temper Trap(Mushroom Music Publishing) with participants including Middle Kid’s Hannah Joy (Mushroom Music Publishing) and Kye (Sentric Music Publishing).
L-R: Kane Gabell, Dougy Mandagi, Sarah Grainger, Ella Phillips. Credit: Rick Clifford
SongHubs Stories Curated by singer, songwriter and APRA Chair Jenny Morris MNZM OAM with Ayesha Madon, Elsy Wameyo (Concord Music Publishing),Franc Tétaz and more, the inaugural five-day residency offered a unique opportunity to delve deep into the art of crafting compelling narratives through song.
L-R: Ayesha Madon, Garrett Kato (Sony Music Publishing), Elsy Wameyo, Indira Elias. Credit: Supplied
SongHubs curated by Sarah Aarons Global songwriting superstar Sarah Aarons(Sony Music Publishing) curated her first all-star SongHubs in Kangaroo Valley with fellow songwriters including Blusher (Sentric Music Publishing), Joel Little (Sony Music Publishing) and Ruel (Universal Music Publishing).
Lucy Blomkamp (Sony Music Publishing) and Sarah Aarons. Credit: Supplied
Aotearoa SongHubs celebrates 10 years
This year marks 10 years of programs, which has provided unique opportunities in songwriting and production collaboration to more than 300 members and invited along guests from around the globe to be part of the experience.
- 320 members
- 400+ new songs
- 1 in 5 songs commercially released
- Countless professional international opportunities
Moana SongHubs 13 creatives participated in the songwriting retreat, which connected Pasifika songwriters and producers at Auckland’s Roundhead Studios. Curated by David Dallas, the event also produced a filmed podcast.
Photo: Taute Vaai
LA SongHubs 2025 Seven New Zealand songwriters and a small group of international guests resulted in 10 new song demos and a host of new creative relationships.
Photo: Whitney Otte
SongHubs Ōtautahi Hosted at Orange Studios in Christchurch the session coincided with the Silver Scrolls.
Photo: Chontalle Musson
SongHubs Tāmaki Makaurau 20 songs were created at Roundhead Studios in Tāmaki Makaurau. Curated by Grammy Award-winning producer Jenn Decilveo. Included Ladyhawke (BMG), Noema Te Hau III and more as producers and The Beths’ Liz Stokes (Concord Music Publishing) as a guest writer.
SongHubs Tāmaki Makaurau. Photo: Chontalle Musson
Aotearoa
Aotearoa Mentorship Program
FY26 marked the fourth year of the Aotearoa Mentorship Program, which continues to provide emerging songwriters and composers with meaningful opportunities to learn from experienced music creators and industry professionals.
STUDIO 11
During FY26, the studio was booked for 270 days, with around 70 writer members making use of the space for songwriting sessions, co-writes, production work and creative development.
Education & Outreach
The APRA AMCOS Aotearoa Education & Outreach team hosted five in-person 'Insights' seminars across New Zealand in FY26, and contributed to seven panel discussions alongside industry partners NZ Music Commission, Pacific Music Awards trust and more.
ORO
Te Amorutu Broughton at Matakīrea sessions. Photo: Zoe Harata
Rei is a dedicated Māori hiphop artist and producer. Photo: supplied
Opening of the APRA Music Awards, and the player of the pūkāea (trumpet) is Manaakiao. Photo: Rick Clifford
Through sustained investment in artists, career development and strategic partnerships that support the creation and promotion of waiata, ORO, led by Dame Hinewehi Mohi, continues to play a leading role in strengthening the presence, visibility, and success of Māori language music.
Waiata Anthems
Waiata Anthems remains a key platform for promoting Māori artists and waiata through digital and social media channels.
Special campaigns for the celebration of Te Wiki o te Reo Māori (Māori Language Week) in September with the whānau-focused Waiata in Our Whare and the 50 Years of Waiata.
Manu Tāiko
With funding from Te Māngai Pāho and in collaboration with Māori language specialist Maumahara Horsfall, producers Nic Manders, KINGS (BMG), Christian Tjandrawinata (Kobalt Music Publishing), and Tiki Taane (Mushroom Music Publishing), the Manu Tāiko producer workshop provided hands-on experience and guidance in the waiata production process. The emerging producers were Leo Coghini, Starcia O'Neil, Diaz Grimm (Heard and Seen Publishing), and Te Kurahuia.
ORO supported international performance opportunities for Em-Haley Kūkūtai Walker (Theia & TE KAAHU) who travelled to the United Nations Permanent Forum on Indigenous Issues in New York and a short music tour; the three-piece Māori band Corella to the Gold Coast of Australia; and hip hop artist Rei performing and advancing music export networks in Canada.
Matakīrea: a brand new songwriting SongHubs-style workshop, led by Ruth Smith, with an emphasis on developing the next generation of kaitiaki reo (language advisors) for the waiata composition.
The ORO team facilitated a range of bespoke songwriting and recording collaborations.
“Ready to Ride “
Chart-topping bilingual track ‘Ready to Ride’ by Hori Shaw and Te Wehi, with Māori language guidance from Paiheretia Aperahama – more than a year later it, remains the #1 song in the Aotearoa Singles Chart.
“Matariki Hunga Nui”
Waiata by Rob Ruha, Kaylee Bell, and Troy Kingi (Kobalt Music Publishing) in celebration of the Māori New Year.
“He Aha te Aha”
An ANZAC commemoration in memory of the Māori Battalion by Nikau Grace, Jeremy Tātere MacLeod and Kings (BMG).
Awards
INXS with Jenny Morris. Credit: Rick Clifford
The 2026 APRA Music Awards were the biggest celebration of members to date, reflecting on APRA’s centenary celebrations through special performances including an opening performance by Christine Anu, Ngulmiya and Rob Ruha; Paul Kelly's rendition of Vanda and Young’s (all published by Sony Music Publishing) “Walking in the Rain”; and The Presets’ (Sony Music Publishing) electro-version of “Power and the Passion”, featuring a special guest appearance by Peter Garrett (Sony Music Publishing), in tribute to the late Midnight Oil drummer, Rob Hirst (Sony Music Publishing). The members of INXS (Universal Music Publishing) were honoured with the Ted Albert Award for Outstanding Services to Australian Music.
2025 APRA Silver Scroll Awards/ Kaitito Kaiaka: Kommi Tamati-Elliffe and Marlon Williams. Credit: Stijl Photography
The 2025 APRA Silver Scroll Awards / Kaitito Kaiaka celebrated 60 years in Ōtautahi Christchurch. Memorable moments included The Mitchell Twins performing Silver Scroll-winning waiata "Aua Atu Rā" by Marlon Williams (Concord Music Publishing), the first time a song entirely in Te Reo Māori has won the award; Solomona Davis and ensemble performing Dillastrate's Maioha Award-winning "Kei Whati Te Marama" and Adam Hattaway and the Haunters paying tribute to Barry Saunders and The Warratahs (Concord Music Publishing) with “Keep On”.
- Silver Scrolls
- NZ Music Hall of Fame
- Best Jazz Composition Award
- Best Country Song Award
- Children’s Music Awards
- Pacific Music Awards
- Professional Development Awards
AU/NZ
2025 Art Music Awards: L-R: Angelina Zucco, Jack Symonds and Claire Edwardes. Credit: Jess Gleeson.
2025 Screen Music Awards: L-R: Electric Fields' Zaachariaha Fielding (Sony Music Publishing), Megan Washington (Origin Music Publishing), Electric Fields' Michael Ross (Sony Music Publishing), Nick Waterman. Credit Cassidy Cloupet.
A very special Billions Awards presentation: L-R: Stuart Crichton (Concord Music Publishing), Connie Mitchell, Amy Sheppard (Mushroom Music Publishing), George Sheppard (Mushroom Music Publishing), Jay Bovino, Kota Banks (Gaga Music), Taka Perry (Concord Music Publishing). Credit: Tori Hyland.
True Originals
Kevin Parker (Photo: Julian Klincewicz) + Sarah Aarons (Photo: Michelle Grace Hunder)
Hitmakers
Flume (Concord Music Publishing), Kevin Parker (Sony Music Publishing), Khaled Rohaim (Universal/ MCA Music Publishing) and Sarah Aarons (Sony Music Publishing) contributed to the BTS hit album Arirang on songs “Merry Go Round” (Aarons, Parker), “Aliens” (Rohaim) and “Fya” (Flume).
China’s no.1 hit “Someone to Love” by Yan Haoxiang was written by songwriters David Turley and James Guido.
Amyl and the Sniffers’ “Big Dreams” got a remix by Fred Again.. to “You’re a Star”, reaching No.47 on the UK charts as well as having huge success at home.
Rising country music star Mack Geiger's single “String By” charted on both the Billboard Hot 100 at no. 86 and Billboard Country Chart at no. 27.
GFlip’s (Kobalt Music Publishing) music was propelled onto the small screen in this year’s hit show Off Campus on Amazon Prime thanks to her anthem “Bed on Fire”. According to The Guardian, their Spotify monthly listeners jumped up 230%.
Australian and New Zealand songwriter/producers Kito (Kobalt Music Publishing) and Leroy Clampit (Mushroom Music), were nominated for Best Album at the Ivors for their collaborations on Lily Allen’s smash hit album, West End Girl.
SongHubs Aotearoa alumni, Sam De Jong (Sony Music Publishing) had co-writing credits on Gracie Abrams’ hit “Close To You”, which originated from a 2017 demo the pair wrote in LA. He also co-wrote and produced “One Track Mind” from Mel C’s latest album Sweat.
Taka Perry (Concord Music Publishing), continued his upwards trajectory with co-write and production credits on MAZZEL’s J-Pop hit "J.O.K.E.R.", which charted on Billboard Japan’s Hot 100 and #1 on Spotify Japan Viral 50.
Global hip hop with a local flavour
"Dramatic Girl" by Baby Keem (feat. Che Ecru)
Melbourne producer and songwriter Keanu Beats (Sony Music Publishing) teamed up with Baby Keem for “Dramatic Girl” on his sophomore album Ca$ino. He also has credits on Ella Mai’s soulful single “100”, 21 Savage’s "Atlanta Tears" (with Lil Baby) and “Backd00r” by Playboi Carti, alongside fellow Australian producer Nagra.
“Dreams Rarely Do Come True” by Young Thug (feat. Mariah The Scientist)
Melburnian producer Nagraco co-wrote the track with Young Thug which featured on his 2025 album UY Scuti, which reached no.6 on the Billboard 200 charts.
“FREAKED OUT” by Fat Papi and prodshushy
New Zealand/Kurdish rapper Fat Papi (Warner Chappell Music) teamed up with Papa New Guinean-born producer prodshushy (Warner Chappell Music) on this viral TikTok hit which pushed it to global charts, reaching No.88 on the Billboard Hot 100 and No.23 on Billboard’s Hot R&B/Hip Hop Songs chart.
The sound of home
These songwriters showcased their connection to home and spread it far and wide.
Drifting Clouds (Terry Guyula), with Zac Terry, performed at a special ‘Live at Collingwood’ at the Melbourne office in celebration of APRA’s 100 Years. Photo: RC Stills
Drifting Clouds burst onto the Australian scene as “the most chill band in Arnhem Land", with “Bawuypawuy”, a dreamy synth anthem drawing on ancient songlines and sung in Liyawulma'mirr-Djambarrpuyngu language. The musical project of Yolŋu singer, songwriter and keyboardist Terry Guyula began close to his home in north-east Arnhem Land’s Gapuwiyak and in a short time has taken him from the prestigious 2024 Garma Festival and Music NT’s Bush Bands Bash to performances at BIGSOUND, SXSW Sydney, Meredith, Lost Paradise, Vivid, a national headline tour, and support for Cut Copy (BMG) and Harvey Sutherland (Warner Chappell Music). Terry’s breakthrough year included second single “Rarrandharr” and signing with Sony Music Publishing.
Singer-songwriter Bobby Alu shared his Samoan culture through extensive worldwide touring, and back in Australia he appeared with his mum, Foloi Iulia, on the ABC children's music series Let's Sing! to perform the traditional Samoan song "Siva Siva Maia".
Emily Wurramara (Mushroom Publishing) became the first Indigenous woman to win Emerging Songwriter at the APRA Music Awards. In her acceptance, she said, "This is more than just an emerging award for me, it's a solid nod that my truth is being heard, that my stories matter, that my people's stories matter.
Composer Bailey Pickles’ music was literally up in lights with the Sydney Harbour Bridge and surrounding skyscrapers perfectly synced to his composition for Vivid 2026.
Singer and songwriter Marlon Williams (Concord Music Publishing) achieved the New Zealand equivalent of the EGOT: The STAG (Silver Scroll, Taite Music Award, Aotearoa Music Awards + Gold Album). His acclaimed and deeply personal LP Te Whare Tīwekaweka, became the first Māori language album to win Album of the Year at the Aotearoa Music Awards.
Upon winning he said, “This is not Māori music having its day, this is just a day in Māori music."
When the global copyright leaders of CISAC (chaired by Dean Ormston) met in Sydney in March they were treated to a performance by Torres Strait Islander artist Chris Tamwoy, with Tawaroa Kawana and Hera Hānita-Paki from Aotearoa, performing “Tuituia Rā”, a song they created at a combined Indigenous songwriting camp and released last year.
L-R: Tawaroa Kawana, Chris Tamwoy, Hera Hānita-Paki. Photo: Tori Hyland
Screen magic
Hollow Knight: Silksong
After seven years in development, the sequel to Hollow Knight immediately crashed global stores and topped sales charts on Steam and the eShop, making its long-awaited return with a soundtrack once again composed by Christopher Larkin.
Christopher Larkin. Credit: Supplied
Mārama
The critically acclaimed gothic horror movie by Taratoa Stappard featured a score composed by Rob Thorne (Heard and Seen Publishing) and Karl Sölve Steven (Heard and Seen Publishing), performed by Thorne using traditional Māori instruments taonga pūoro including the pūtātara, porotiti and tumutumu.
L-R: Rob Thorne and Karl Sölve Steven at 2024 Silver Scrolls. Photo: Stijl Photography.
Advocacy
Local content comes up short
We're advocating for the two measures to support a sustainable music industry:
• an Australian federal live music tax incentive
• minimum local music requirements for every platform
If streaming audio was on the shelves at the supermarket, Aussie and Kiwi consumers would want to know where it came from. But local audiences are increasingly blocked from the best of their own produce — the music that is winning audiences around the world and earning more royalties from international sources than ever before.
Based on our FY26 data, more than 91% of the music Australians streamed in FY26 was imported. In New Zealand, imported music accounted for 96%.
The Australia Institute's Reversing the Decline of Australian Music report, calls this ‘a one-way valve’, with the share of local content continuing to decrease.
The damage impacts the entire music ecosystem. Monash University’s major study into Community Radio and Australian Music, which we partnered on, found 1.6 million Australians discovered a local or emerging artist through community radio, and 1.5 million of them went on to look that artist up on a streaming platform.
When streaming stops surfacing local music, it breaks the chain that carries artists from community radio to the live stage and on to broadcast.
Australian and New Zealand songwriters are squeezed on the platforms where fans first find them, and on the stages where that support grows. Algorithms trained on global catalogues decide what gets heard. Rising costs contribute to which rooms stay open.
In Australia, we're advocating for the two measures that would change this:
- a federal live music tax incentive
- minimum Australian music requirements for every platform.
Both are central to our submission to the Australian Government's national cultural policy consultation, Made Here. Heard Everywhere., which set out a five-year roadmap for Australian music.
Audio streaming should be treated the same way as radio and broadcast, which has long been treated as critical cultural infrastructure, with local content obligations to match.
Our call: platforms should have three years to deliver minimum Australian music requirements in line with the top commercial radio quotas, with levies for non-compliance.
Pictured at CISAC Board Conference in Sydney, L-R: Dean Ormston, Hon. John Graham MLC, APRA Chair Jenny Morris, Gadi Oron (Director General of CISAC), Jennifer Brown (CEO, SOCAN). Photo: Tori Hyland
Streaming Data
Consumption Growth – Australian Streaming
107.0B total streams 0.6% ↑Consumption Growth – NZ Streaming
18.6B total streams 3.7% ↑Australian members' share of Australian audio streaming fell from 9.5% to 8.5%, the largest annual fall in four years.
New Zealand members edged up from 3.8% to 4.0% of New Zealand streaming.
Over five years the decline is stark. Since FY21, Australian member share has fallen 37.5%, from 13.6% to 8.5%.
New Zealand member share has fallen 28.6%, from 5.6% to 4.0%.
UGC
Consumption Growth – Australian UGC
746.2B 28.6. % ↑Consumption Growth – NZ UGC
153.4B 27.3% ↑The fall is in actual plays as well as share. Australian members received about 26.9B streams, down from 29.0B the year before, in a market that grew by more than a quarter.
In New Zealand, UGC consumption rose 27.3% while New Zealand members' share fell from 3.0% to 1.7%, a drop of around 28% in actual streams.
In both countries, consumption continues to grow, but so does the volume of music and content available from around the world, putting local creators at a numerical disadvantage as well as algorithmic.
2018: 5,158 licensed venues, that was 206 venues per 1m Australians
2026: 5,099 licensed venues, only 182 venues per 1m Australians
The situation is now so dire that it’s making international headlines.
Image – The New York Times
Live music venues update: flat growth, shrinking access.
At $4.83 billion in revenue, live music is the largest part of Australia’s music economy, with around 12 million people attending contemporary live music events each year. In total, Australian music generated $10.76 billion in revenue and $4.28 billion in direct gross value added in 2024/25.
Despite this, licensed live music venues keep closing every year, and numbers remain slightly below pre-COVID 2018 levels.
Comparing 2026 to 2018, total venues fell by just 59 or 1.1%.
When zooming out, the loss is greater. While, venue numbers have rebounded to just below pre-COVID levels, they have failed to keep pace with population growth. As a result, Australia has nearly 12% fewer licensed music venues per capita than in 2018. To look at it another way, that’s a decline of 24 venues per one million Australians.
In Australia, popular venues that closed in FY26 include Mary’s Underground (NSW), The Gasometer Hotel (VIC), Seven Sheds (TAS) and The Avenue Restaurant and Bar (QLD).
How do we stave the closings? A national live music tax rebate is the only solution. We're calling for a 30% rebate on what venues and artists spend staging live music, aligned with the screen Producer Offset.
Oxford Economics modelling shows that even a 20% rebate could deliver up to 322,500 additional performances a year, $294 million in artist income, 10,800 jobs and $920 million in gross value added.
New Zealand is 20% behind its FY18 figures. The pandemic hit the sector hard, but current performance is increasingly driven by the commercial environment venues face, including cost pressures and softer discretionary consumer spending.
Case study – how would a live music rebate work?
This year, we welcomed the Tasmanian Government’s Live Music Excise Rebate Pilot, which is offering pubs, hotels and clubs a rebate worth 50% of their verified costs on live music expenditure.
The pilot gives participating venues a direct financial incentive to program live music.
AI and music
Our advocacy continues at full pace. We’re working with governments, platforms and international partners to ensure members are asked Permission and receive Payment when their works are used to train or generate AI content.
We’ve worked with colleagues and members from across the creative sector to take the conversation to Canberra and ask the government to hold firm on the Copyright Act.
L-R: Dean Ormston, Warren H Williams, Hannah Joy, KLP, Anna Funder, Mahalia Barnes, François Tétaz, William Barton, Paul Dempsey, Mark Seymour, Hon Tony Burke MP, John Collins, Andy Griffiths. Photo: Shoelace Creative.
The Paris Commitment sets out a series of principles urging governments, technology companies and cultural industries to ensure human creators remain protected, recognised and fairly remunerated in the AI era. CEO Dean Ormston, also Chair of CISAC, joined creators from across the globe at CISAC’s General Assembly, to issue a landmark declaration calling for the protection of human creativity as AI rapidly transforms the cultural and creative landscape.
CISAC General Assembly including Chair, Dean Ormston. Photo: Supplied
People
Equity remained a key focus, with APRA AMCOS continuing to build a fair, inclusive and culturally respectful organisation where people feel they belong and can contribute fully. This year, work progressed on bringing equity, inclusion, culture and reconciliation commitments into a single practical approach, supported by clearer measures, cultural protocol checks, stronger governance through the Equity & Inclusion Steering Committee.
More information: APRA Workplace Gender Equality Compliance Report
Guided by principles of Relationships, Respect and Opportunities, we continued to strengthen Aboriginal and Torres Strait Islander leadership, cultural integrity and community partnerships. Indigenous-led programs such as Bush Bands supported two-way learning and deeper connections with Indigenous-owned businesses and communities. During Reconciliation Week, 75 employees participated in external exhibitions, guided tours, film screenings and heritage walks with their teams. We also progressed our Indigenous Employment Strategy, strengthening employment pathways across APRA AMCOS.
Photo: Gillian Dunn
APRA's 100 years of colleagues supporting creators
Early Australian staff and Board at dinner at the Sofitel Hotel Wentworth Ballroom, Sydney, 1956
Early New Zealand staff including first staff member, Albert E. Rolfe
Gen Z (under 30)
14.4%Gen Y (30-45)
53.6%Gen X (46-61)
29.2%Boomers (62+)
2.8%
One way to bridge those generational divides is with new initiative Coffee Roulette! That’s right, each month the People & Culture team pair together staff who have opted in to connect with colleagues from different departments and professional experiences.
To date: 495 cups of coffee, matcha and tea helped fuel 299 unique colleague connections!
A cuppa with the boss. L-R: Lily D'Adam (Matching Specialist, Commercial Operations), CEO Dean Ormston and OneMusic Licensing Representative Derick Frimpong. Photo: Georgia Ginnivan